Showing posts with label Martin Scorsese. Show all posts
Showing posts with label Martin Scorsese. Show all posts

Saturday, April 14, 2012

Titanic's 100th Anniversary: My Grandfather Had a Ticket and a Dream

Article first published as Titanic's 100th Anniversary: My Grandfather Had a Ticket and a Dream on Blogcritics.

As the excitement and interest about the infamous ocean liner Titanic and the 100th anniversary of its sinking reaches a zenith this weekend, I have been thinking about my own family story about the great ship. All families have stories that are told and handed down, and one of my grandfather's great tales was about his ticket to sail on the Titanic, an opportunity which he felt would fulfill all his hopes and dreams. Pop was set to sail on the great ship on April 20, 1912, away from all he had ever known and toward what he felt would be a grand future. Of course, fate had other plans.

Growing up on the Lower East Side of Manhattan, Pop lived in a tenement apartment with his eight siblings and his parents. The youngest of four sons, Pop got to go to school while his older brothers never did; they had to work as soon as they could get out on the street and do something to earn money. Pop's decided advantage was learning to read and write, something that would give him an edge in the years to come.

Pop had a fascination with the sea in large part due to his father Anthony, who worked as a longshoreman on the city's docks. Pop would go and watch his father working, see the ships great and small, and wish for the day he could cross that ocean. While many of his family and friends spoke about the dream of coming to America, the grim reality that he saw all around him was nothing like the hopeful stories that had inspired them all to come to the USA in the first place.

Unfortunately, Anthony died at thirty-five years old while working on the docks. Pop said it was probably a heart attack, the work being so horrendously arduous and the hours incredibly long. So what little money was coming in from my great grandfather's salary was now gone; therefore, Pop's school days ended and he too hit the streets looking for work after having just completed third grade.

The gritty streets of Pop's New York in the late 1890s must have been an amalgam of every possible horror known about that period and a hell that cannot be imagined. From all the gruesome stories Pop told, his real New York made something like Martin Scorcese's film Gangs of New York seem like a church picnic. Pop saw all the cruelty, the poverty, the squalor, and the inequity that existed, registering it deep down but pushing forward because he had no other choice.

Flash forward to early 1912. Because Pop could read and write, he had secured a job as an assistant for a Doctor Martin who lived near Gramercy Park. Pop's duties included driving the doctor all over the city to various appointments, luncheons, and functions. He also took care of the doctor's papers and mail, and his salary of ten dollars a week enabled him to buy some nice clothes and help his mother.

Pop still dreamed of getting out, away from this fractured world just like his childhood friends actor Jimmy Durante and singer Eddie Cantor, who had escaped the neighborhood. Pop got his first shave at sixteen from Durante's father, and while in the barbershop that day Jimmy's brother Robert, a New York City cop, came in and impressed Pop in his uniform with the shiny buttons. Pop asked him why he became a cop, and Robert told him it was either that or become a crook. Knowing their neighborhood, Pop knew how true those words were.

As he was driving Martin everyday, they spoke about many things. One of the biggest topics in those early weeks of 1912 was Titanic. In an age before TV and radio, this ship's story still had somehow consumed the interest of people everywhere. Pop had been reading everything he could about the ship, and he would tell the doctor about the amenities that would be on board: the electric lights, the elevators, the lavish suites, the swimming pool, and the heated cabins. Martin wondered if he should get tickets for his wife and him, and Pop said that would be a grand idea. The doctor later revealed that he had inquired about the cost for the first class quarters he wanted, and four thousand dollars was too dear for him.

Of course, the well educated doctor and the poorly educated employee talked about the ship from their own perspectives. When Martin said something about, "The name alone is an incredible case of hubris," Pop was not sure what he meant. The doctor had said something about Greek mythology, and this inspired Pop to hit the library to look up "hubris" and read all about the Greek gods, especially the Titans. When he went back and spoke to the doctor about Cronus and company, his boss was impressed.

They continued to speak about the ship and its legacy and eventual curse: it was supposed to be virtually unsinkable. Since ships were the airplanes of that day, imagine if we were told by an airline that a plane was not capable of crashing? This captured Pop's imagination because sinking ships were a reality; he had seen the salvaged wrecks being towed into New York harbor as a boy when he stood alongside his father on the docks. Ships big and small had gone down, sending goods and people to watery graves. The possibility of an unsinkable ship was so alluring, so powerful, and that mystique hovered over Pop's every thought about the famous ship.

In late March of 1912, Pop had worked a straight twenty-four hours taking the doctor to all his emergency appointments during a heavy snowstorm. Martin had always admired his work ethic, but he felt this extra effort deserved some kind of reward. A week later the doctor got in the car and presented Pop a little gift for all the hard work he had been doing: a third class ticket for passage on the Titanic. "Maybe I can't go, Dave," he said with a hand on Pop's shoulder, "but nothing should stop you."

Pop said he was speechless, just staring at the ticket that he could never have afforded; to save $36 would have been impossible for him at that time. Martin knew Pop had a dream, and it was much bigger than being a chauffeur for him. Pop thanked him profusely, went home excitedly, and showed everyone the ticket. During the ensuing days, he prepared for the adventure that lay ahead of him by going to the library, reading all about London, and thinking about how his new life would unfold after he got off the great ship in England.

By the time Pop saw the infamous headline on the front page of The New York Times about the ship sinking, he was shaking as he stood at the newsstand with the paper in his hand. It was as if all of his dreams had hit that iceberg too, sinking deep to the bottom of the icy sea forevermore with the ship that had captured his imagination. How could an unsinkable ship sink? he wondered. Of course, people have been asking that question over and over ever since.

He made his way down to the docks where his father had worked and died, and he saw the eventual arrival of the Carpathia with the haunted surviving passengers, changed forever by the tragic loss they experienced out on that icy ocean. Pop took the ticket from his pocket, shed a few tears, and threw it into the water; he knew the dream was ostensibly over. Wealthy New Yorkers like Isidor Straus and John Jacob Astor had died on that ship, and now this poor New Yorker would never have the chance to set sail on it.

The next day Pop went back to the Durante's for a haircut, and he asked the barber if his son Robert could help him get a job. He became a New York City cop, and later that year he met my grandmother at a dance. They fell in love and were married three days later. Pop always said it was love at first sight, but Nana joked that looks were deceiving, yet they remained married until her death in May 1972, just a few months short of their 60th anniversary.

Pop moved out of the neighborhood, building his own house in Queens where my father and his brother would be raised. Pop lived a life he never imagined when living in the tenement. Never mind the Titanic; he had a place that he could call his own with a bathroom and yard. He must have thought, with apologies to Titanic director James Cameron, that he was indeed king of the world.

Many years later as an old man he would tell this story with dry eyes. He had come to terms with what happened long ago, and even felt in many ways that the sinking of the ship saved him from making a big mistake. His idea to sail to England and work his way down to Italy was not planned out, and he may never have made it. He could have ended up trading a New York slum for a London one, and what good would that have been? He seemed happy but also felt a great sadness for those lost because, as he said, "Most of them who died on that ship were poor just like me."

My grandfather had a dream to sail on Titanic, but it was never meant to be. His one regret after all those years was not keeping the ticket. I said that would have been worth something, but he said he would have never sold it. He would have framed it and hung it on the wall in order to always remember that fate had other plans for him.

Photo Credits: Discovery.com, NY Times

Saturday, February 27, 2010

Shutter Island: Do You Know Who I Am?

Martin Scorsese’s new film, Shutter Island, is one of those movies that plays with the audience in ways that make some people feel cheated, while others will be taken over by the sheer ability and craft of the filmmaker. Scorsese definitely pulls all the deceptive tricks he can out of his cinematic toolbox, but it is up to the viewer to decide whether or not he has constructed something meaningful or not.

This particular kind of trope has been utilized in The Sixth Sense and Angel Heart, which are kindred spirits to this film. Scorsese is also paying homage to the detective mysteries of the past here, and Shutter Island echoes the film noir of the 40’s and 50’s with its dark visuals and tone. Add to that the heft of the music arranged by Robbie Robertson that shatters scenes like a symphonic sledgehammer, and you have a movie designed to make you feel on edge most of the time.

It is 1954 and Leonard DiCaprio and Mark Ruffalo play U.S. Marshalls Teddy Daniels and Chuck Aule, who have come to Shutter Island off the coast of Massachusetts to investigate the disappearance of violent criminal Rachel Solando. From the very first scene, Scorsese makes us queasy as Daniels experiences seasickness in the ferry bathroom. He looks disgustedly through the porthole at all the water, and we know we’re in for a bumpy ride.

The island facility for the criminally insane is an armed fortress, and guards at the gate inform Daniels and Aule that they must check their firearms. Daniels starts what will become a litany throughout the movie, reminding them “I am a U.S. Marshall,” a sort of “Do You Know Who I am?” routine that seems to continually backfire on an island where the rules don’t necessarily have anything to do with the law back on the mainland.

Here they encounter Dr. Cawley, (played with gusto by Ben Kingsley) the administrator who runs the place. He seems generally helpful in the beginning, but as Daniels and Aule try to dig deeper, Cawley blocks their attempts with red tape ranging from the board of directors to the protestations of a senior colleague, the decidedly creepy Dr. Jeremiah Neahring (Max von Sydow).

Through flashbacks we learn that Teddy was part of the army that liberated the Nazi Concentration Camp Dachau during World War II. Teddy has deep feelings of failure connected to the event, thinking he arrived too late to help all the people whose bodies were piled up in a final frenzy of killing before the Americans got there.

He also sees his deceased wife Delores (Michelle Williams) in his dreams and in hallucinations. Teddy reveals to Chuck that his wife was murdered, and the main reason why he has come to Shutter Island is not the Solando case, but to find Andrew Laeddis (Elias Koteas), the man responsible for the fire that killed Delores. While most of the prisoners are kept visible in Wards A and B, the severely insane and dangerous ones are housed in Ward C, a building off limits to everyone. Teddy quickly establishes that Laeddis must be in Ward C and wants to get in there to search for him.

If all of this is not enough to get you going, a major hurricane has swamped the island, knocking out the power and cutting off the ferry service. Teddy and Chuck are forced to bunk with the orderlies, and during the fierce storm we get to see more of Teddy’s disturbing dreams, especially a particularly horrifying sequence of a Nazi Commandant who tried to commit suicide and failed as well as one featuring the sought after Laeddis, taunting Teddy with a match.

By the time we get to the second act, after the storm and Teddy’s descent into the proverbial hell of Ward C, Scorsese still has some cinematic tricks up his sleeve. Daniels and Aule discover a lighthouse on the coast where it is rumored that illegal psychological experimentation is being done by Cawley and his colleagues. The lighthouse is separated from the island by a craggy and dangerous rocky cliff, and this is the metaphorical obstacle that must be overcome in order to get to the truth.

My problem with Shutter Island is that Scorsese plays around with the truth. A master of film technique and an advocate of film preservation, we immediately accept that his work will be top-notch before we even sit down in the theater. What happens in this film is that Scorsese sets us up for what he believes is dramatic irony in the conclusion of the film, but it seems more to me like irony of situation, where we get less than expected and yet Scorcese believes we should be satisfied.

DiCaprio does an amazing job as Daniels and should be nominated for Best Actor. This is his strongest and darkest role to date, and the actor has to be credited for taking a decidedly different and unglamorous route. After his success in Titanic, DiCaprio could have easily made the mistake other actors have and taken “star” parts for the money in less than challenging films, but DiCaprio is true to his craft and is willing to take risks and difficult parts that no doubt many actors would not.

The rest of the cast (particular Kingsley and Williams) does an excellent job, and the creepy island facility is wonderfully realized. Scorsese uses everything at his disposal to shrink the real world, sinking the viewer into the morass of the island and trapping us there along with Daniels and Aule. It is this claustrophobic element that probably works best for Scorsese here, but no matter how hard he has done all the right things, there is something missing that is pronounced and makes the experience less satisfying than it should have been.

The denouement is right out of Hitchcock’s Psycho, where everything is sort of explained in order for the audience to understand all that has come before. If you’re anything like me, you get annoyed with this kind of psycho-babble that is an attempt to justify a filmmaker’s showmanship at the sake of the audience’s trust. I went in so wanting to like this film and, while there is much to admire, it leaves a conspicuous aftertaste that is hard to rinse away.